ARP 101 is the astro-funk alias of Alix Depauw, otherwise known as Alix Perez. As with an increasing amount of producers at the moment, Alix splits different sides of his sound over two monikers, giving him almost unlimited scope for experimentation and diversity. It is this multi-dimensional style and evidently crafted ability in various genres that make him a well-respected and in-demand artist.
In the run-up to his appearance at The East Ender festival this weekend, we spoke to the Frenchman on playing to “educated” London crowds, the freedom of multiple monikers and future endeavours…
Alix, how’s life?
All good here thanks. Hectic but good hectic!
What will we see from you over the next year or so? Are you in the process of writing a second album? If so, will it be under the ARP 101 or Alix Perez guise?
I’m currently working towards the finishing stages of my 2nd Drum & Bass LP (Alix Perez) which will surface on Shogun Audio next year. This will feature various tempos and avenues in terms of sound, including a touch of influences from my ARP 101 moniker. After that there will be a lot of new ARP material surfacing. I’m working towards a few projects but nothing concrete that I can disclose quite yet.
Which artists at the Eastender Festival are you looking forward to seeing play? And what can we expect from your set?
JJ DOOM. I’ve been a DOOM fan for as long as I can remember and sharing the same bill is obviously an honor.
Looking forward to catching Sinjin Hawke as I’m liking a lot of what I’ve heard so far. To be honest I’m looking forward to it in it’s entirety as the line up is solid!
What do you find to be the defining characteristic of London crowds?
Tough question. The one thing I will say is that it’s definitely an educated crowd. There’s so much emerging from the UK in terms of electronic music, it’s exciting times. The great thing is that as a DJ/performer, it gives you the chance to be really quite broad in terms of selection. Since the genre barriers have been blurred in recent times, there’s larger scope to be experimental.
How do you see the strength of London’s current house/techno/’bass’ scene compared to the world of d&b?
I find there’s much less separation than previously. As opposed to a couple of years ago, my drum and bass sets have really broadened. I can play what I feel and people seem to be willing to take it on board. It’s only healthy for all of us. It brings a whole new side of influences and pushes for experimentation.
In terms of strength, I think they’re all equally self sufficient scenes which is only a good thing. I’m really enjoying the fact that everything is merging a little more!
Why do you think so many producers have turned their attentions to slower genres? It’s definitely less common to see a producer start a higher BPM project at the moment.
I think because for any producer of any genre, it’s always nice to turn your hand to other styles. I’ve always produced at many kinds of tempos. Working at 170 bpm leaves you little space to work with which is why I think drum and bass has always been precise and meticulous in terms of production. A lot of my drum and bass is now produced at 85bpm.
The ARP 101 project has always been from the start, an alias of freedom. A platform where I can experiment and produce anything I feel. Same with the performance side of things when DJing/live.
Do you approach the technical side of the Alix Perez and ARP 101 projects differently? Is it roughly the same equipment, techniques etc.?
Yes and no. Technically and sonically similarly yes, however the majority of my ARP 101 (if not all) is not sample driven. It’s a lot more analogue orientated, using various synths and outboard to compose the actual music. Saying that the two projects do share the same studio so it has some connection and shares some identity.
Are there any traits that run through all your music, no matter the moniker?
Serious studio snack selections.
ARP 101 plays at The East Ender Festival this Friday September 21st. Buy tickets here.